Composition of three color photographs, 1m x 1m each mounted on aluminum. 

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These three images are three tiny details of postcards expanded to large dimensions. By enlarging these tiny figures the detail of the postcard layout is captured, resulting in chromatic aberrations. When looking at the images from a distance, the shapes are perceived in a clearer way, but as we come closer the figures lose their form.

 

The postcard is the very exemplification of memory, of the souvenir. Therefore, in this case, one reflects on the mnemonic process, admitting that memory is a bad copy of reality, and that, in the end, one can blame the perception of things. Approaching the images implies getting closer to the memory. As Paul Ricoeur explains in his book Memory, History and Oblivion, when we relate to memory we understand that this virtual process of going back to the past is determined by the perception that each one had in that moment, being therefore impossible to approach that time. Furthermore, the analysis of our historical past is defined by Michel Foucault's historical a priori, which determines that our approaches are cultural fantasies rather than objective observations. The chromatic aberrations and the blurring of the figures that we see in these image 1mx1m extensions make reference to this fact.